whose interest apparently does he say it? (ƒ) What is the motive (l. 14, 15) of Horatio's suggestion to the Queen ? (g) Why does the author make us know (ll. 17-20), here or at all, that the effect of the closet lessoning is permanent ?

2. (a) Why is it well that Horatio is to be present, and escorts Ophelia in? (b) What characteristics of Ophelia still show themselves? (c) What makes the deep pathos of the following paragraphs? (d) What is to be said of the manner in which (1. 35) the King is introduced? Why is he brought in? (e) Why is not his inquiry (1. 55) replied to? (ƒ) Does it seem likely (ll. 57, 58) that Ophelia saw (cf. 1. 72, below) her father buried? (g) Why again should it be Horatio (1. 63) who attends upon her?

3. (a) Why does the King talk to the Queen (1. 64 ff.) of sorrows, making (1. 68) "your son gone one of them? (b) How long must it now be (1. 76) since Hamlet went away? (c) How does the King chance to know the matters, done in secret, such as he reports of Laertes ? What does this show as to his habitual policy and state of mind? (d) What must be the character (1.79) of the "pestilent speeches" of which he makes complaint? (e) Why does not Gertrude, even after knowing (1. 84) the degree of the King's dismay and danger, make response? (ƒ) Are the "Switzers" (1. 85) apparently now and always near?

4. (a) What seems to be Laertes's aim (11. 90, 94) in allowing the crowd to make treasonable outcries? (b) Why is not the Queen (11. 97, 98) more excited? (c) Why does the author keep the following of Laertes (11. 100, 101) from our sight? (d) To what extent seemingly are there noblemen or courtiers

in this uprising? (e) Which of these men, the King or Laertes, now subordinates the other? (ƒ) What does the Queen do (ll. 110, 114) to help? (g) How do you account for the coolness and even repose of the King in these exciting moments?

5. (a) Why is the King so slow in making known who is responsible for Polonius's death? (b) Why is Ophelia brought in again, with Laertes to be witness, in our sight, of his sister's pain? (c) How far do you consider his words to her and of her (11. 141-150) the unforced and genuine expression of his soul? How far was his appreciation of his sister, living, as lively and complete as his language now? (d) Is the effect of this second entry of Ophelia stronger or less strong on us than the first? What are the reasons? (e) To whom does she give the flowers that (11. 161, 162, 166-169) she selects and speaks about?

6. (a) Why is Laertes made to comment (11. 155, 174, 187), in our hearing, through the situation? (b) Why is Horatio not here this time with Ophelia? What is the effect of all upon your feelings concerning Hamlet? (c) Why is it the King, and not Laertes, that is made (1. 188) to take up the interrupted topic? (d) What do you say of the tenor and spirit of the terms (11. 192-195) by which the King offers to be judged? Is such unkingliness usual with this man? Do you or do you not think that it can be excused? (e) Is this conversation between the King and Laertes wholly private ? (f) What can be the meaning, since Hamlet is not in reach, of the King's hint (1. 204) of some exemplary punishment?

SCENE VI

66

1. (a) Why is Horatio asking "what" rather than "who " are those that would speak with him? (b) Why should the persons in question, having letters to deliver, be subject to such preliminaries? Is the caution for Horatio's sake or theirs? (c) What do you say of the salutation (1. 7) of the First Sailor"? Does it argue a feeling of humility, as from a man of the lower ranks, or excitement, or what? (d) What is Horatio's feeling, apparently (1. 8), over it? (e) Can you account for the reference to Hamlet (1. 10) as the "ambassador"? (f) Why yet the caution (1. 11) as to Horatio's identity?

2. (a) How far have Hamlet's actions and utterances of late tended to confirm, to you, the implications of the last paragraph of the last act, that he has knowledge of the King's mandate, and has in readiness a most effectual counterplot? Or, do you conclude it all but fustian and braggadocio? (b) If he has arranged any counterplot, would Horatio know? (c) If there are men assisting Hamlet against the King, are they probably or not sailors and like people from the lower classes? (d) How should Hamlet, in (1. 18) the grapple, board the pirate, alone? And why should the pirates wish or consent to get clear of a royal ship, without spoil? (e) Are the pirates apparently preparing to extort ransom from the King for Hamlet, or not?

3. (a) What must Hamlet mean (11. 20, 21) by "thieves of mercy"? (b) What good turn would it be practicable (1. 21) to do for pirates? (c) Why should Hamlet have "letters" (ll. 15, 22) for the King? (d) If Hamlet has been brought

back by accident, and against his will, what should be the reserves (11. 24-25) of excitement yet to tell? (e) Why is Hamlet (1. 26) in hiding? (ƒ) Are or are not these "good fellows" (1. 26), who are helping thwart the King's will, of the pirate crew? (g) How far does the First Sailor now seem, in (11. 7-12) his earlier words to Horatio, to have had a pirate's consciousness and fear? (h) What practicable relations, after scene iii. of this act, can Hamlet expect to maintain with the King?

SCENE VII

1. (a) How is this related in time to scene v., and to the preceding? (b) Has Laertes made and brought his choice of "wisest friends" for this interview, or not? (c) What sort of story (11. 3-5) has the King told Laertes? (d) What "crimeful" and "capital" feats (1.6) can have been instanced against Hamlet? (e) What do you ṣay (11. 9–24) of the King's two reasons for not restraining or punishing this culprit? (f) What is now (11. 25, 29) Laertes's mood?

2. (a) What is noticeable as to the King's mood and spirit in this interview? (b) What would the King have probably ventured upon saying (1. 35), had there been no interruption? (c) Why did not the "sailors" (1. 39) wait to deliver the letters (cf. vi., 13, 14) after the manner that seems to have been intended? (d) Why does Hamlet at once in his letter (1. 44) say "naked," and what does he mean by the word? (e) Why does he add, in postscript (1. 51), " alone"? (ƒ) Where is all the bitterness and savagery, now (l1. 53–56), with which Laertes lately demanded vengeance?

3. (a) What comes now (1. 58) into the King's mind? (b) Does the King seem (11. 60-62) to be in the same fear of Hamlet as in the first scenes of this act? (c) What in the new idea (11. 65-67) seems to the King perhaps better than the former plan? (d) Why does not Laertes wish (1. 69) to be the principal, rather than the "organ,' " in this revenge? (e) How far do you think Hamlet (1. 73, 102) to have been envenomed with envy? (f) How far do you take the "confession" (ll. 94-101) of Lamond to have been as the King reports?

4. (a) Why is Laertes (1. 105) unwilling to deduce anything from the King's talk, why does he force all back upon the King? (b) How can the King, in view of Laertes's late defiance, ask (1. 106) if his father was dear to him? (c) What seems to be the King's reason (11. 109–122) for saying so much in excuse of Laertes's presumed coldness? (d) Why are the King's last words (11. 123–125) so satisfying to Laertes? (e) What is to be said (1. 125) of Laertes's answer? What were the rights of sanctuary? What should a righteous king say or do with reference to such a declaration ?

5. (a) Why is it asked (1. 128) that Laertes keep close within his chamber? (b) What is to be said (11. 133-135) of the King's reference to Hamlet's nature? Why is there no mention further about the "envy"? (c) Why does Laertes think he needs (1. 139) to anoint his sword? (d) Why is the King too (11. 149-153) unconfident of outgeneraling Hamlet? (e) Why should the Queen venture (1. 161) to interrupt such an interview as this? (f) Has she by this time read (1.37) Hamlet's letter? Is it or is it not likely that she will look for further measures against Hamlet?